Repertoire Lists

I decided to compile recommended repertoire lists from several marimbists. I'm sure it is only a beginning, and I welcome additions from anyone else.

Recommended for students:

http://www.vicfirth.com/education/articles/VanSice.html

http://www.nancyzeltsman.com/pdfs/NZrecommendedsolos.pdf

http://www.marimba.org/ja/modules/tinyd0/index.php?id=11

Professionals' current repertoire:

http://www.marimbasolo.com/repertoire.php

http://www.nathandaughtrey.com/current-rep/

Additional advice regarding Katamiya

As the contest comes to a close, I would like to document some final advice offered by Dr. Burritt and other participants since my last post:

-"It's not what you say, but how you say it!"

-Create warm-ups related to the piece you are performing

-roll exercises, rhythmic exercises

-Be visually engaging; no excess movement

-Analogies can be useful (Dad yells at kid for not taking out garbage, kid explains why he didn't take out trash)

-Make a performance a personal experience

-Capture the essence of each section

-opening chorale: play calmly, draw audience in

-establish groove!

-melody: expressive, anxious, dark, tension

-A major section: contrast, skies open up!

-second repeat: even more free with time

-graduate mallets for textural reasons, bring out the melody with a harder mallet as mallet 4, use softer mallet for mallet 1

Thanks again to Steve Weiss Music, Dr. Burritt, and all participants!

Sincerely,

Matt Levine

Thanks!

I'll be in Montana for the next week with little internet access and no marimba, so this will be my last post as part of the Steve Weiss Interactive Contest. Thanks to everyone who participated, and thanks to Dr. Burritt and Steve Weiss Music for creating and organizing the contest.

This contest has given me an opportunity to interact with a teacher, composer, and several other percussionists from across the county. We were able to share information ranging from practice approaches and mallet choices, to interpretations and performances. The participants created a worldwide community of percussionists capable of sharing videos, posting blog posts, leaving comments, and "tweeting."

What does the future hold for musical online interactivity? Perhaps online masterclasses, sessions with the composer, or online broadcasts of performances. Perhaps teachers may start online private lesson studios. The possibilities seem endless, and as musicians living in the 21st century, we must take advantage of the opportunities we have to create a truly interactive musical world.

Notes on my Performance so Far

One of the benefits of recording myself for the Steve Weiss Interactive Contest is being able to listen to and watch myself throughout the process. I would like to post all of my notes for my first complete run-through of the piece. Please leave your own comments too.

1. Second chord of piece can be held onto longer and not get softer so soon

2. Roll-type and speed must be more varied at beginning, especially between last three chords.

3. Opening groove section is too loud and aggressive

4. Don't miss C-A to C-G# in right hand melody!

5. Work on making hyper-strokes cleaner (left hand in groove section)

6. Last measure should be softer overall

7, Overall, soft dynamics could be softer-more contrast

In general, I was happy with the groove I created throughout. I feel like my body language generally conveys the atmosphere of the piece . I think many performers, including myself, overlook the importance of how we look when we perform. I will continue to work on this piece and improve upon the shortcomings I noticed. It would be very helpful to have other musicians' input too!

http://video.steveweissmusic.net/21/complete-runthrough-of-katamiya.video

Items I Use in my Videos

Here are links to mallets, instruments, music, and other materials I use in my videos. All are available from Steve Weiss Music.

Mallets I have used:

Van Sice Series: http://www.steveweissmusic.com/product/29498/keyboard-mallets

Zeltsman Series: http://www.steveweissmusic.com/product/28969/keyboard-mallets

Marimba I use:

Musser 4.3 Kelon: http://www.steveweissmusic.com/product/26762/marimba

Katamiya sheet music: http://www.steveweissmusic.com/product/23072/marimba-solo

I've also been working on warm-ups and technique exercises from the following:

http://www.steveweissmusic.com/product/2685/mallet-books

http://www.steveweissmusic.com/product/2480/mallet-books

Available recordings:

http://www.steveweissmusic.com/product/279/classical-percussion-recordings

http://www.steveweissmusic.com/product/180/classical-percussion-recordings

And I've been working on Stevens' transcription of Album for the Young. Great piece!

http://www.steveweissmusic.com/product/23071/marimba-solo

Style

Advice from Burritt, Sejourne, and participants regarding playing Katamiya in the right style:

1. multiple levels of emphasis (make a clear difference between ghost notes, accents, tenudos, etc.)

2. groove! stress syncopations within dynamic framework

3. keep clear and simple for the audience

4. quarter note triplets do not have to be perfectly subdivided; piece can't be rhythmically square

"It's not what you say; It's how you say it."

-Thomas Burritt

Rolling

Here are various tips provided by Thomas Burritt and various participants:

1. Start practicing measure 1 chorale by blocking (16th notes or 8th notes seem to be preferred)

2. Progress to alternating hands in 16th note or 32nd note rhythm

3. Progress to varying roll speed to prevent listener from detecting individual stroke patterns

4. Relax hands and keep mallets low to lessen attack

5. Vary type of roll (traditional, ripple, independent)

6. Adjusting angle of mallets and playing area on the bar can also add variation to rolls

6. In rhythmic passages, start rolls with a double stop to keep rhythm clear. In less rhythmic passages (ie. measure 1), roll can be started with alternating strokes

7. Sing melody to help sense the direction of the phrases

8. Mallets can be graduated (softer to harder from left to right) to bring out specific voices